CHAPTER 2 | HARMONIC CONSIDERATIONS Secondary dominant progressions (V7/II-7, V7/I-7, VI/IV, V7IV, V7/VI-1, V7INII-70'5)) create a secondary level of harmonic gravity. In addition, each of these V7 chords has a substitute dominant available (o take its place at the whim of the performer or composer/arranger. The substitute dominant contains the same tritone as the “real” dominant and acts as an alias for it. The root of a substitute dominant chord is an augmented fourth (or its equivalent, the diminished fifth) away from the root of the “real” dominant chord (¢.g. D+7 is the substitute dominant for G7 in the key of C major, Conversely, G7 is the substitute dominant for Di7 in the key of G> major.) Dominant resolution produces root motion down a perfect fifth to the target chord. Substitute dominant resolution produces root motion down a half step to the target chord. Passing diminished chords move up by half step between I and II-7, between II-T and III-7, between IVMaj7 and V7, and between V7 and VI-7. They mimic secondary dominants because of the common tones that are shared. Traditional practice in jazz harmony allows the placement of the related II-7 chord before any dominant seventh chord. The related TI-7 chord comes from the same "key of the moment” as the V7. Therefore D7 is the related I-7 of G7 regardless of where it occurs in a progression. E>~7 is the related II-7 of A7, F#-7 is the related II-7 of B7, and so on. Related II~7 chords are often used before substitute dominants as well The following chart summarizes the above in the key of C major. The tune “Catch Me If You Can” on the following page utilizes a variety of tonal progressions, Harmonic Universe in C Major Primary Secondary dominant, their substitutes, and related I-75: Dominant vin yma ta VIN VINES vivE-765) abt pa ca pi G7] ‘aT, via eq] [oer] fw 7 Br] loi er] at in 7 Ft —F FT 7 = J SSI qi — a ae a nee Tg ae ay =a ar Pan Dis 53CHAPTER 2 | HARMONIC CONSIDERATIONS ‘Tonal Harmony (Minor Key Orientation) There are three forms of the minor scale: natural minor, melodic minor, and harmonic minor. Natural minor contains a diatonic sixth and seventh degree, Melodic minor contains a raised sixth and seventh degree, while harmonic minor contains the diatonic sixth degree and a raised seventh degree. The following charts demonstrate (respectively) the harmonic universe of C natural minor, C harmonic minor, and C melodic minor, and they show the diatonic seventh chords that are produced on each note of these respective C minor scales, Harmonic Universe in C Natural Minor Primary Secondary dominant, their substistes, and related I-75: Dominant VIn-T—V7MI-7(b5)_VT/bIIMajT.VIAV-7 VIN -VTAVIMGT VvbvIT ar os on lf ae are Jo-nib5) CXb9)||a-rs Dib9) |as-nsV DTH] 705) Fb] Erb) ATO9)| R769 BOTO9} Oy og og 8 8 8 8 | Mer Mos vec Mae Harmonic Universe in C Harmonic Minor Primary Secondary dominant, their substitutes, and related I-75: Dominant VIN-Maj7) VIME-TGS) VIMTSMa\7) VIV-T VIN VTIGVIMaj7 Vor je oe 3 or C47) DTS) BHM) BT or AbMgj7 BOT 4 Ps o b fp # a g ai 48 LM) 1-705) ULM?) 1-7 vr IMs? vueT TONIC Subdominant Tonic SUBDOMINANT DOMINANT Subdominant Dominant Minor Minor==—=-Minor—= Minor mh Miner Alias Alias ‘Alias Alias 57JAZZ COMPOSITION THEORY AND PRACTICE Note: Primary and secondary dominant chords in a minor key tend to use #9 as a har- ‘monic tension because it has a darker sound than ¥9, When +9 is used, the related I-7 chord usually takes +5, because +5 and 59 of the dominant are the same pitch. The substitute dominants take #9, and their related IIW7s take *. Harmonic Universe in C Melodic Minor Primary Secondary dominant, their substitutes, and related I1-7s— Dominant VIM?) VIN? VUVbUMS(Maj?) VIMY? VII] VIIN-T(6S) VINVIL-1085) Soi 7 1 cami D7 Bom) Fog AT) BS 5 4 é ogg a i——8 Lamy 0-7 hon) ov) wT WET) wT) TONIC Subdominant Tonic SUBDOMINANT DOMINANT Tosic Dominant Minor Alias Minot Tt Th Aliss Alias ‘Alias The three forms of the minor scale are interchangeable, and you may notice that some tunes contain references to all three depending on the whim of the composer. In the following example, “Minor Differences,” you will find all three forms of the A minor scale being used. For reference, these scales are shown on the second staff (below the melody). Notice that some of them are built up from the root of the chord-of-the- moment, thereby indicating the correct chord scale for that chord (ie., the mode of the designated minor scale). Note: For a thorough discussion of chord-scale theory see Modern Jazz Voicings by Ted Pease and Ken Pullig. 58JAZZ COMPOSITION THEORY AND PRACTICE Modal Harmony ‘The modes have provided fertile musical sol for jazz composers since the late 1950s. In effect, modes can be viewed as displacements of the major scale. Ionian Diatonic seventh chords for each of the modes can be derived, as shown below. Each ‘mode contains a so-called characteristic note that helps to distinguish it from major and ‘minor, and from the other modes. C7 pT RbMa? FT G7 A765) BHMajT_——_Characteratie Dorian ‘ote 6 cr DoMajy EBT FI G-%bS)—ADMaj?— Bh Characteristic Phrygian b ‘ote 62 cMait Dr ET FETS) GMT AT Ba Charactrise Lydian ote 4 o DT ETS) FMaj? ot AT — -BbMaj7—Characteristie © Mixolydian ote o7 D-7b5) EbMaj7 FT G7 ADM? BbT Characteristic © Aeolian b ote bs ©7065) DbMaj?—Bb-T FI GbMaj? ABT Bb7 Characteristic € Locrian b ole bs 82Sistema a [Tv ew ve vir rons inca ete de mtr) imam —] 7 IT parr ties oe ane Seam |? a a 7 ens} — Pa sootunip 3 unc mie et dire =r races eo : ‘etme —[ er ths i : a EE _ BHA i i i 1 i aa! an cor Der ad oF i 4 i é4 t i 4 i fM. Lydian AMaj7 By chr Debs) EMaj7 Fer Ger M. Ionian “AMaj7 BT CHT DMaj7 E7 PRT G#T(bS) it 4q— 4 — M. Mixolydian AT BT C#T(b5), DMaj7, E-7 PRT (GMaj7 Is Dorian Aq Ba Mai D7 Ea F #65) GMa? Acolian Aq B-7005) cMai7 ba ET Maj? ar M. Phrigian Aq BiMaj7 ce ba E-1005) FMai7 Ga M. Locrian AmbS) BiMaj7 ca ba EbMaj7 FT GasO sc He ee i i i i 5 oy tt pt ° oy i i f f 4 oH i iM. Lydian DMaj7 ED FRI Gam05) ANai7 Ba ce M. fonian Doi? Ba Fer Gait AT Ba cams) GA # § 8 #8 *g 8 M. Mixolydian D7 Ea Fe7065) Gai Aa Ba Maj? Is Dorian ba Ea FMaj7 Gr Aq B-1b5) Mair Acolian ba E705) Maj? Ga Aq BiMaj7 cr M. Phrigian ba EsMaj? Fr Ga A105) BiMaj7 ca M. Locrian D-1(65) EbMaj7 Fa Ga AIMajT Bi carow serie sens MODALIDAD é sere tO aan 7 TTS [VM ve ver_| viIM7 : ot i i i j i Be, t i # : oy i i A 4 4 5 i i aM. Lydian EMai7 Fir 7 ABTS) BMaj? cH per M. Ionian EMaj7 FRI 1-7 AMaj7_ BT CHT D#E7(b5) : a4 A 8 eo $ 8 M. Mixolydian . er #t ig og FRI GMaj7 AT Ba CE HbS) DMaj7 a #y Ba FETS) GMaj7 Aq Ba Maj Db? Maj? Gr Aq B-7105) cMaj7 ba M. Locrian AOS) Maj? Ga Aq BoMaj? cr baSistema I bil i bill ii Iv Vv bvi_ | wi [obvi vil TONALIDAD Intercambio tonal (acordes de mixtura) Mayor 1Maj7 17 u-7_| 1VM7 v7 Vi-7 ViIr-7b5 T. Menor natural 17 ir7bs_| oiiM7 7 V-7_| BVIM7 BHT N T. Menor arménica E-M7 1-75 _|_bIlIeM7 W7 V7(b9) | BVIM7 vie7_| TT. Menor melédica LM7 billeM7 7 v7 Vi-7b5, Vil-765 MODALIDAD Intercambio modal (acordes de mixtura) M. Lydian IM7 7 M7 #IV-7b5 | _VM7 Vier Vile7 M. Ionian IM7 17, u-7_| M7 v7 Vi-7 VI-7b5 Mi. Mixolydian 7 17, TE-765 |_IVM7 v7 vi-7_| BvIIM7 M. Dorian, 17 i-7__|_biIM7 1V7 V7 Vi-7b5 | BVIIM7 M. Aeolian 17 11-7b3_|bilIM7 W-7 v-7_| BVIN7 BVT M.Phrigian 1-7_| biIM7 bILI7 W-7 V-7b5_| bVIM7 bVIL-7 M.Locrian| 1-7b5 | biIM7 Bill-7 W-7_|_bVMT bvIT BVIL-7